Mary Poppins Returns (2018)

Crowther finds the film a delightful, emotionally affecting throwback, though its old-fashioned perkiness may not suit everyone. She especially praises Emily Blunt’s more mysterious take on Mary and the warmth and showmanship of Lin-Manuel Miranda’s performance.

Rooney calls the film an enchanting, thoroughly entertaining charmer that should become a family favorite. He particularly praises Emily Blunt’s performance and the film’s tuneful, lovingly crafted musical numbers.

Kermode gives the sequel a warmly enthusiastic verdict, saying it preserves the original’s magic despite not being perfect. He singles out Emily Blunt’s haunting rendition of “The Place Where Lost Things Go” as the moment that makes the film’s spell work.

Richards finds it a charming, highly worthy follow-up that comes close to being practically perfect. He especially praises Emily Blunt’s comic timing and the imaginative, energetic staging of the musical numbers.

Hutchinson finds the sequel a sprightly, heartwarming success that largely recaptures the original’s charm. She especially praises Emily Blunt’s crisp performance and Lin-Manuel Miranda’s energetic musical numbers.

Norman finds the film a warm, old-fashioned success and praises Emily Blunt’s confident, distinctive Mary Poppins. He singles out the duet between Blunt and Lin-Manuel Miranda as a musical highlight.

The review calls the film a big-hearted cinematic high and the year’s sweetest surprise. It singles out Emily Blunt’s hypnotic charm for praise.

Gleiberman finds the sequel a rapturous, joyfully old-fashioned piece of nostalgia, while noting that its careful imitation cannot equal the original. He praises Emily Blunt’s spirited performance and the film’s lovingly staged musical sequences.

The review finds the revisitation of the classic material a holiday delight. It singles out Emily Blunt’s performance for praise.

Staunton presents the sequel as reliable, enjoyable family entertainment, though it has few show-stopping tunes. He singles out its nostalgia and affection for the original as strengths.

The standfirst suggests a positive verdict on Emily Blunt’s performance. It singles out her take on Mary Poppins as naughty, no-nonsense and very nice.

Lane finds the sequel charming and enjoyable despite its cautious reliance on the original’s formulas and several missteps. He especially praises Emily Blunt’s graceful, sly performance as Mary Poppins.

Bramesco finds the film technically impressive but emotionally hollow, with its nostalgia feeling calculated rather than sincere. He praises Emily Blunt’s performance while faulting the production numbers for lacking warmth and soul.

The critic finds the sequel a tepid, nostalgia-driven remix that marginalizes its star. They praise Emily Blunt’s early scenes and the charm and choreography of “Trip a Little Light Fantastic,” while faulting the film’s hollow recreations of the original.

Jenkins finds the film strangely bland and says it fails to recapture the original’s appeal. He particularly criticizes its uncatchy songs and the sense that repeating the old formula produces diminishing results.

Edelstein finds the film a painstaking but ultimately disappointing re-creation that loses its magic. He praises Dick Van Dyke’s dancing and Lin-Manuel Miranda’s congenial performance, while faulting the songs and Emily Blunt’s portrayal of Mary.

Chang finds the sequel overworked, mirthless and unable to live up to the original. He praises the brief joy of Dick Van Dyke’s cameo, while criticizing the new songs and Blunt’s stilted characterization.

Berry finds the sequel charming, joyful and a must-see for the festive season. She especially praises Emily Blunt for capturing Mary Poppins’s essence while making the role her own.

The critic finds the film charming and sincere, despite its familiar story and forgettable new songs. He singles out the hand-drawn animation and musical sequence inside the china bowl as its visual highlight.

The critic finds the return gloriously uplifting and thoughtful, praising its emotional honesty and willingness to address children’s fears and family hardship. She also singles out the costumes as an ill-fitting, overly vivid distraction.

Shoemaker finds the sequel derivative and somewhat flat, but ultimately says she loved it. She praises its sumptuous design and Emily Blunt’s performance, while criticizing the predictable story and unimaginative direction.

Goldberg finds the film charming but ultimately a pale imitation of its predecessor. He praises Emily Blunt’s performance and Lin-Manuel Miranda’s standout song, while criticizing the film’s lack of imagination and memorable songwriting.

Spiegel finds the sequel too devoted to the original to become memorable in its own right. He praises Ben Whishaw’s heartfelt performance, while lamenting that the new songs fail to stick.

The critic finds the sequel overly derivative, though it still has moments of delight. Emily Blunt’s prickly, no-nonsense take on Mary Poppins is singled out as a particular success.

Han finds the sequel charming but overly derivative, unable to recapture the original’s magic. She praises Emily Blunt’s performance, while noting that the songs and updates leave little lasting impression.